Q & A With Tim Mantoani

I hear photographers all the time say, "When I get (insert
new camera, more money, a new portfolio, time, etc...here) I want to
go shoot (insert dream project here)." Bottom line is that most of
them never will go shoot what they want. I was diagnosed with a rare
form of bone cancer when I was 30. It showed me that you need to
live your life NOW. So go do it. Make that first call, send that
first email, take that first picture for YOUR personal project NOW.
Stop reading and go do it or it will never happen. YOU have to make
it happen. Take the risk, you will not regret it.

EP Interview Series

By Keith Green

KG: Describe the "flashing light bulb moment" that ignited this
wonderful personal project portrait series, which not only pays
tribute to some of the world's most recognizable images, but places
a name and face to these photographs.

TM: I had heard about the 20x24 Polaroid Camera and always wanted to
try shooting with it. In Dec of 2006, I rented the camera for a day
and asked two photographers that I knew in San Francisco to come in
for portraits. I requested that they each bring one of their iconic
photos to hold. Michael Zagaris held his photo of Joe Montana and
Bill Walsh from the 49ers and Jim Marshall brought in Johnny Cash
flipping off the camera. There was something interesting the balance
of both the photographer and their photograph in these instant
images. I had each of them write a bit about their image on the
bottom of the Polaroid. It all started there and I knew I was onto
something special based on the feedback from the photographers and
people I shared the images with.

KG: Personal projects for photographers have long been career-
launching vehicles and can be synonymous to a writer's moving short
story or, perhaps, a novel. Do you see this correlation?

TM: I think personal work is a must. I have done several personal
projects/trips over the years and they all have lead to something
that was a positive in my career and life.

KG: Many art buyers from, both, the editorial and advertising worlds
have gone on record by associating a photographer's personal work
with their creative identity when reviewing books.

TM: The format of this project is what is different, the simplicity
of the lighting and image is not much different than most of my
portrait work.

KG: We now live in a highly technically advanced, media-savvy
digital culture and yet, you've applied simplicity in your personal
project's concept with the 20X24 Polaroid Camera. Do you see this
element as being partial for its success?

TM: I think that using 20x24 Polaroid helped to get the photo
industry interested in this project since Polaroid stopped making
film while I was in the middle of shooting. Each Polaroid, like a
wet plate image, is unique because of the medium. I love that the
artifacts of each image is different and not perfect. Photography
has become so "retouched" it is nice to work with a more organic
process.photo: Luis Garcia

KG: One of the main hurdles for many contemplating or undertaking a
meaningful personal project is funding. How have you approached this
factor? Were grants funding or sponsorship involved in any way?

TM: I have self-funded this project and have had to take on a lot of
risk to make it happen. My wife is a saint and when I asked her
about refinancing our house so I could keep shooting, she said,
"sure".

I hear photographers all the time say, "When I get (insert
new camera, more money, a new portfolio, time, etc...here) I want to
go shoot (insert dream project here)." Bottom line is that most of
them never will go shoot what they want. I was diagnosed with a rare
form of bone cancer when I was 30. It showed me that you need to
live your life NOW. So go do it. Make that first call, send that
first email, take that first picture for YOUR personal project NOW.
Stop reading and go do it or it will never happen. YOU have to make
it happen. Take the risk, you will not regret it.

KG: Could you discuss the impending book publishing process which
is part of this portrait series?

TM: I have been speaking with a couple of publishers, but the book
industry is not too solid in this economy. I may take the road of
self-publishing if needed. My goal is to have a beautiful, large
format book.

KG: Do you view the practice of personal projects, for aspiring
photographers, as a more viable way of entry into other publishing
opportunities in this multi-dimensional world of media publishing,
as opposed to the traditional route of support via editorial
magazine assignments?

TM: It is hard for me to say what others should do. For me, I have
had to do it all to make ends meet and build my business. I do think
no matter what you shoot, you need to do personal work and shoot
what you love. It will show in your images and lead to the work you
want to do. People will hire you as "photographer", and not because
they are buying "photography". There is a big difference; you want
people to hire you, not your camera.

KG: What are the rewards or benefits you hope to see as a result of
your portrait series venture?

TM: It has already been worth the risk and debt. I have had the
chance to collaborate with so many amazing artists and develop some
lasting friendships with my subjects. The biggest reward is that I
have archived some of the world's most important photographers and
several of them have already passed away. These images will be a way
for future generations to not only appreciate their photos, but the
photographer as well.